Home > Equipment

Equipment

As most photographers will tell you, a camera does nothing more than control the amount of light that reaches the sensor (film or digital), and it's the photographer that determines what the camera sees. That said, the specific camera, or camera system, dictates how much of the photographer's vision can be recorded. I currently use a Canon DSLR system.

Bodies

Canon EOS 1D Mark IV
This is a very nice body for shooting wildlife. The 16.0 mega-pixel sensor, with a 1.3 magnification factor, and the ability to shoot 10 frames per second for a 28-RAW-frame burst, makes it very nice for capturing action. The extremely low noise at higher ISOs opens up more shooting possibilities in low light. It's great to be able to manually select any one of the 45 autofocus points again, and it has practically the same number of pixels as my first digital "landscape" body, the Canon EOS 1Ds Mk II with 16.7 mega-pixels.
Canon EOS 1Ds Mark III
This is an excellent body for shooting landscapes. The 21.1 mega-pixel full-frame sensor captures spectacular image data with very little noise. It's also a decent wildlife body that can capture 5 frames per second for a 12-RAW-frame burst.

Lenses

Canon EF 24-105mm f4 L IS USM
This mid-range zoom lens replaced my Canon EF 28-135 f3.5-5.6 IS USM which felt chintzy and had soft corners. The 24-105 has a sturdy "L"-lens feel, and the corners are much sharper.
Canon EF 70-200mm f2.8L IS II USM
A very sharp lens that works well with the 1.4x III and 2x III extenders. It replaces my Canon EF 100-400mm f4.5-5.6 L IS USM that was not as sharp and focussed slower and my Sigma AF 120-300mm f2.8 APO EX IF USM that was not as sharp and lacked IS.
Canon EF 180mm f3.5 L Macro USM
A nice, yet large, macro lens.
Canon EF 500mm f4 L IS USM
My big glass. Performs well with the 1.4x III extender.
Canon TS-E 17mm f4 L
The ultra-wide-angle tilt/shift lens is great for landscapes where a wide field of view is desired. The shift capability is useful for shooting up or down where the usual convergence effect isn't wanted. The image quality is spectacular from corner to corner.
Canon TS-E 24mm f3.5 L II
The wide-angle tilt/shift lens is great for landscapes with large "depth-of-field" requirements. The shift capability is useful for shooting up or down where the usual convergence effect isn't wanted. The Mk II lens replaces my old TS-E 24mm f3.5 L (Mk I) lens, and is much sharper and has much less chromatic aberation in the corners.
Canon TS-E 90mm f2.8
The short-telephoto tilt/shift lens is great for close-ups with large "depth-of-field" requirements.

The alphabet soup defined

APO	- APOchromatic
EX	- superior build and optical quality (or EXpensive)
HSM	- Hyper-Sonic Motor
IF	- Internal Focusing
IS	- Image Stabilization
L	- pro-Level (or Luxury, or Ludicrously priced)
USM	- Ultra-Sonic Motor

Extenders and Tubes

Canon EF 1.4x III
I use this 1.4x tele-extender on the 70-200, 180 Macro, and 500. It's sharper and has less chromatic aberation than the older EF 1.4x II, especially in the corners.
Canon EF 2x III
I use this 2x tele-extender on the 70-200. It's sharper and has less chromatic aberation than the older EF 2x II, especially in the corners.
Canon EF12 & EF25
These two extension tubes help me focus closer with my 180 Macro and 500.

Filters – Screw-On

Basic filters for my lenses except the 500 f4 and TS-E 17.
UV Haze
B+W MRC F-Pro screw-on filters used to protect the front element when photographing in harsh environments like sea spray.
Circular Polarizer
B+W MRC F-Pro screw-on filters in sizes to fit most of my lenses. I use a step-up ring to mount a polarizer on my TS-E 90mm lens.

Filters – 4-inch

Mostly neutral density filters for my lenses except the 500 f4 and TS-E 17.
Neutral Density
Lee 4x4" (100x100mm) 3-stop ProGlass filter and HiTech 4x4" (100x100mm) 2- and 4-stop resin filters. Used to enhance water blur, and they fit in the Lee Foundation Kit holder. The Lee ProGlass filter also controls unwanted IR, so I use it first and then add the HiTech filters if I need an even longer exposure.

Lee 4x4" (100x100mm) 10-stop Big Stopper for extremely long exposures. It's good for turning waves into a smooth, cottony surface.
Graduated Neutral Density
Lee 4x6" (100x150mm) graduated neutral density filters: 1- and 2-stop filters with a soft transition and 2- and 3-stop filters with a hard transition. Used to balance the exposure between a hot sky and a dark foreground. When the image is right (a more or less straight line between the two parts of the image), it's faster to use a split neutral density filter in the field than to create a high-dynamic-range image in postprocessing.
Reverse Graduated Neutral Density
Singh-Ray 4x6" (100x150mm) 3-stop reverse grad used to hold back a bright horizon.
Polarizer
Singh-Ray Cokin Z-Pro Sprocket Mount LB Warming Polarizer. It's much more convenient to be able to access the polarizer in the Lee Foundation Kit instead of between the lens and the wide-angle adapters for the Foundation Kit.
Filter Holder
The Lee Foundation Kit is a great filter holder for 4-inch (100mm) filters. While it's possible to hold a rectangular filter in front of the lens, it's easier to let the filter holder do it for a long exposure or when more than one filter is being used. I have 77mm and 82mm adaptors for wide-angle lenses which puts the first filter in the holder really close to the front element of the lens, and I have a 58mm regular adaptor for the TS-E 90.

Filters – 6-inch

Mostly neutral density filters for my TS-E 17.
Neutral Density
Singh-Ray 6x9" (150x230mm) 3-stop solid ND filter. Used to enhance water blur.
Graduated Neutral Density
Lee 6x7" (150x170mm) graduated neutral density filter 2-stop with a hard transition and Singh-Ray 6x9" (150x230mm) 2-stop filter with a soft transition. Used to balance the exposure between a hot sky and a dark foreground. When the image is right (a more or less straight line between the two parts of the image), it's faster to use a split neutral density filter in the field than to create a high-dynamic-range image in postprocessing.
Reverse Graduated Neutral Density
Singh-Ray 6x9" (150x230mm) 3-stop reverse grad used to hold back a bright horizon.
Polarizer
Cavision 5x5" Linear Polarizer. By using some shims to extend the 4mm thick filter, it can be mounted in the 2mm thick filter guides of the SW150. Used to reduce, or enhance, reflections in compositions without a sky.
Filter Holder
The Lee SW150 Holder System is a great filter holder for 6-inch (150mm) filters for lenses with a bulbous front element. You can read about my DIY adapter to allow the SW150 for the Nikon 14-24 to be mounted to a Canon TS-E 17.

Flash – Dedicated

Canon Speedlite 550EX
A reliable flash that I usually use as a slave in a two-flash setup.
Canon Speedlite 580EX II
A very nice flash that has a fair amount of weatherproofing. The new single-button release for the tilt and swing makes the flash a joy to use.
Canon Off-Camera Shoe Cord 2
An "extension cord" for the flash.
Quantum Turbo 2x2
This external battery pack is great for powering a flash, or two, for a quick recycle time. I have two CZ cables for it so I can power both of my Canon flashes at the same time.
Sto-Fen Omni-Bounce Flash Diffuser
I have an omni-bounce flash diffuser for each Canon flash to help soften the light.
Wimberley F-1 Telephoto Flash Bracket
The F-1 telephoto kit (M-1, M-2, and M-3 modules) holds the flash above the 500, and the M-6 Extension Post added to it holds it even higher to get the light further off-axis. The M-1 with the kit, supplemented with another M-1, makes a great beanbag support. (As of early 2008, it was cheaper to buy two M-1s seperately, than their special kit with two M-1s — go figure.)
Wimberley F-2 Macro Flash Bracket
The F-2 macro kit (M-1 and M-4 modules) is a very flexible support for macro photography. If you already own an M-1 bracket as part of their F-1 kit (see above), you can purchase just the M-4 module to complete the setup. Use two F-2 macro kits to hold two flashes for better lighting.

Flash – Strobist

Sunpak Auto 383 Super
I use six of these (discontinued) basic hot-shoe flashes when I photograph hummingbirds with a fully-manual flash setup. They are cheap (on eBay), and provide manual flash output control down to 1/16 power to provide a short-duration flash to stop action.
Yong Nuo PT-04TM Wireless Flash Trigger
One transmitter mounted on the camera hot shoe triggers five receivers, each connected to a single flash. These are a very cheap way to wirelessly trigger a set of flashes in manual mode. Several sellers on eBay provide various sets of transmitters and receivers or just receivers. The receivers have a built-in flash shoe, but they're not very well built, so instead I use small ball heads to mount the flashes and short PC cords from the receivers to trigger the flashes.
Light Stands
Two (discontinued) Bogen 3372 7-foot and two Impact 2205 6-foot light stands support my flashes and background.

Other Gadgets

Canon Remote Switch RS-80N3
Better known as an electronic cable release.
Canon Timer Remote Controller TC-80N3
An electronic cable release with various timer functions, including the ability to set an exposure for more than 30 seconds — no more checking my watch for long exposures.
Shoot RS-300 RS-80N3 Wireless Remote
A wireless cable release that's great for wildflower photography because you don't have to worry about a long cord or switch housing dangling in the wet foliage.
Canon Angle Finder C
The right-angle finder extension is great for low-level shots.
Hoodman HoodLoupe 3.0
This little device shields the rear LCD to let you view it in any lighting condition.

Packs and Cases

Kinesis A257 Body Pouch
A body pouch (duh!) for the Kinesis system. Useful for carrying a second body or a pair of binoculars.
Kinesis L321 PolyCore™ Long Lens Case 300
A very rigid long-lens case that can hold the 70-200 (with hood in place) with 2x and body attached.
Kinesis L526 LightWeight Long Lens Case 500
A great (discontinued) long-lens case that breaks down flat for shipping. It can hold the 500 (with hood reversed) with 1.4x and body attached. It's also useful as a "holster" for the 500 (with hood in place) while shooting out of a vehicle. The L521 PolyCore™ Long Lens Case 500 is a similar (in production) model, but it doesn't break down for shipping.
Lowepro Photo Trekker Classic
I use this backpack for airline travel, and it usually carries my wildlife gear: 24-105, 70-200, and 500.
Lowepro Pro Trekker AW
This backpack carries my standard set of gear: 17 TS, 24 TS II, 24-105, 90 TS, 70-200, and 180 Macro.
Lowepro Daypack for Trekker
A great add-on rear "pocket" to the Trekker AW packs. In the field, it holds snacks, water, and extra clothes. While traveling, it's the perfect size for a laptop in a soft case
SKB Mil-Std Waterproof Case 5" Deep with Cubed Foam (3I-1813-5B-C)
This is a great Pelican-like case for protecting a 17-in laptop. It's waterproof, so it'll also keep out dust, and unbreakable, so you can put it in a luggage duffel and not have to worry about it receiving rough treatment.

Support

Gitzo GT3540XLS Tripod
This 6x carbon-fiber model has four-segment legs that extend long enough (78 in or 198 cm) for most shots on uneven ground, and without a center post, it can get down to ground level. It folds down to 27.6 in (70 cm) and weighs 4.3 lb (1.95 kg). The 6x legs prevent the legs from rotating and make the locks extremely easy to operate. The GT3541XLS is a similar model that is currently available.
Kinesis SafariSack I
A great bean bag for shooting out of the top of a vehicle or from other generally flat surfaces.
Kirk Quick-Release Plates
I use Kirk quick-release plates on all my gear. The 1Ds Mk III has an L-bracket, the 1D Mk IV has a regular camera plate because I rarely use it on a lens without a tripod collar, my lenses with a tripod collar have lens plates, and my 500 f4 has the LP-53 bracket that replaces the Canon foot thus reducing weight and height.
Really Right Stuff BH-55 Pro Ballhead
This is a nice ballhead that replaced my Arca-Swiss B-1 ballhead. The BH-55 looks a lot better than the B-1, but the B-1 performed better for me before old age got the better of it. The "Pro" model of the BH-55 has a screw knob to secure the camera clamp.
Really Right Stuff MPR-CL II Panorama Rail
The MPR-CL II panorama rail is great for placing the lens nodal point over the camera rotation point to create better multi-frame panoramic images. It includes a bubble level to help level the camera.
Vertex Photographic Molar Bean Bag
A great window support that packs into a smaller space and weighs less than a metal window support. Well, that's when it's empty. When it's filled, it weighs a ton because it holds about as many beans as three normal bean bags.
Wimberley M-1 Quick-Release Arm
Two M-1 modules make a great beanbag support. (As of early 2008, it was cheaper to buy two M-1s seperately, than their special kit with two M-1s — go figure.)
Wimberley Sidekick
A great mount for the 500 f4. The balance is a dream. It mounts on a ball head, and is a more-convenient option than having a dedicated full-up Wimberley head.

Field Storage

Gepe Card Safe Extreme
This is a great case for storing four (4) CF cards — it's even waterproof.
HyperDrive Colorspace UDMA
This is a nice in-the-field download and storage device and a great alternative to an Epson Multimedia Photo Viewer. It's cheaper than the Epson devices, especially if you purchase a case-only device and add your own hard drive. Plus, by using their OTG Sync Adaptor, it's possible to backup the Colorspace to an external hard drive, or two, without using a computer. The user interface isn't as nice as an Epson and the controls aren't as comfortable to use either.
SanDisk Compact Flash cards
- 16GB Extreme Pro, 90 MB/sec
- 8GB Extreme, 60 MB/sec
- 8GB Extreme IV, 45 MB/sec
The Extreme Pro CF cards are my primary storage devices.

Digital Darkroom

Apple 17-in MacBook Pro (Mid 2010, 2.8 GHz Intel Core i7)
A fast platform for running Capture One and Photoshop, especially when outfitted with the maximum 8GB of RAM and a 240GB Mercury Extreme Pro SSD (Solid State Drive) for the startup volume and a Photoshop scratch volume. The SSD is mounted in the optical bay using a MaxConnect Optical Bay Kit, and a 500GB 7200 rpm hard drive is in the regular hard drive bay for file storage.
Eizo ColorEdge CG210
This 21" LCD display is my main display. It has coupled hardware- and software-based color calibration to provide a wide gamut of accurate colors, and displays 1600x1200 pixels. This display replaced my Apple 23" Cinema HD Display (new style) because that display had noticeable color variation along the left and right sides when calibrated for a D50 white point. The Eizo has great color uniformity, and only a very slight brightness variation along the left and right sides.
Nikon Super CoolScan 4000 ED
The original high-end 35mm scanner from Nikon generates a 14-bit, 19 mega-pixel file.
Epson Stylus Photo R2880
The R2880 is a great printer that has archival-quality UltraChrome K3 with Vivid Magenta inks for the highest-quality color and black and white prints. It handles paper up to 13 in wide, and I use it for all of my photo printing. It replaced the Epson Stylus Photo 2200 and Epson Stylus Pro 4800 that I used to use.
Capture One Pro by Phase One
This RAW conversion tool from Phase One lets you zoom-in to the pixel level to examine focus and sharpness before processing the image.
Media Pro by Phase One
I use this image management tool mainly to perform a fast initial edit of images, mostly for wildlife where lots of images are captured. It's a very quick way to go through RAW images (it operates on the embedded JPEG) to throw out images that are definitely not sharp or that are framed poorly (like a cut off wing tip). It's much faster than using Capture One, which operates directly on RAW images (not the embedded JPEG). I use Capture One for the final editing because it's possible to view the RAW image (not the embedded JPEG) at 100% to check sharpness.
Photoshop CS5 by Adobe
Is there an alternative? The noise reduction capabilities in Camera RAW are good enough that I have stopped using Noise Ninja.
NIK Silver Efex Pro 2
This is a fantastic plugin for Photoshop (or Aperature, Elements, or Lightroom) for creating black-and-white images.